Tagarchief: subroutine

Nouveau Vélo – Daze

Helmond ligt niet aan zee. Verre van. Noch ligt Helmond in een klimaat waar het aangenaam is om de hele dag met ontbloot bovenlijf, op teenslippers en in wild bebloemde shorts met je pas gewaxte plank onder de arm rond te lopen. Nog verder van. Toch vinden we in Helmond de geboorteplaats van een van de beste surfgaze platen die we het eerste kwartaal van 2013 hebben gehoord: Daze van Nouveau Vélo. Sterker, in vrijwel heel het afgelopen jaar hebben we weinig popplaten gehoord die de zes nummers tellende ep Daze van het trio uit Helmond overtreffen.

“Maar wat is dat, surfgaze?”, zult u zich wellicht afvragen. Daarom een korte beschouwing op deze samenvoeging van twee genre namen die eigenlijk al antwoord geeft op deze vraag.

Surfmuziek
De suffix Surf wordt als eerst gebruikt in het begin van de jaren 1960, om de bands die aansloten bij de zojuist ontstane surfcultuur te omschrijven. Instrumentale rock om op te dansen, met een centrale rol voor de gitaar. Dick Dale wordt algemeen gezien als een van de pioniers van het genre, die met Let’s Go Trippin’ één van de eerste commercieel succesvolle surf instrumentals op de markt bracht. Ofwel: een redelijke, doch regionale hit in California.

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Opgeslagen onder CD recensies, De Jaap, Incubate, Konkurrent, Le Guess Who?, Nederland

Avery Plains – The Gloomy Ones/Lost My Sight To Spider

In the unlikely event that Dinosaur Jr. would ever join up with a reincarnation of The Screaming Trees to record some songs together, they’d probably sound like Avery Plains. They combine the dark and swampy sound of team Lanegan with sharp indie and noise rock of fighting brothers Barlow and Mascis (and silent witness, Murph). Loud and ferocious like, any band with four guitars on eleven. A racket, in the most positive sense of the word.

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The Gloomy Ones, our introduction to this band from Groningen, incorperates two fiercely smashing guitars, a wild but melodic bass guitar and a third lead guitar sounding very much like Medicine and My Bloody Valentine; loud, piercing, noisy, yet extremely melodic. Amidst all this pumping and thumping noise, Jurgen Veenstra’s dark and warm voice brings a calm backdrop, like the eye of a storm. This is actually where Veenstra’s vocal delivery comes closest to Lanegan, in tone ánd in intention, emitting the same subdued rage.
On the flip side, Avery Plains shows yet another face by adding a rough country feel to their grungy sound. But Lost My Sight To Spider is menacing all the same, not the least because of its well-balanced backing vocals. Giving it an extra heavy, stalking doomsday vibe. Something’s afoot, so brace yourself…

The single will be released on the 6th of April by Dutch underground label Subroutine Records and can already be pre-order on their site.

One can already hear The Gloomy Ones on the bandcamp of Avery Plains.

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Opgeslagen onder English, Nederland, veelwoordenvooreensingle

Space Siren – Mr Wagner, Please Give Us A Call

Salmiak en suiker. In kleine bolletjes verpakte smaakexplosies, die na een proces van nauwkeurig en voorzicht zuigen door een klein gaatje in de suikerwand in een scherpe golf door het zoet heen snijden.

Een heerlijk contrast in smaken. Het debuut van Space Siren, in 2005 geboren uit de restanten van Seesaw, is als zo’n salmiaksnoepje. Met Mr Wagner, Please Give Us A Call van begin tot einde gevuld met zoetgevooisde pop, scherp snijdende shoegaze en noiserockgitaren floreert de band uit Voorhout in contrast.
De zwoele, soms angstig verleidelijke stem van Gwendolien Douglas (ergens tussen Kim Gordon en Kim Deal) wordt als door een psychiatrische dwangbuis omwonden met snerpende geluidsgolven. Daar onder drumt drumster Duivenvoorde de overgebleven kieren haast dwangmatig dicht.

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Opgeslagen onder CD recensies, CD Recensies NU.nl, Nederland, NU.nl

Avery Plains

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maart 1, 2013 · 2:05 pm

April

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februari 28, 2013 · 7:50 pm

Vox Von Braun – Rich And On Wheels

When listening to the second record of Vox Von Braun the first time, the first refrain of The Joker, by this other Dutch band Woody And Paul, springs to mind. A very earthly explanation why their success is what it is(n’t).

I wasn’t born in the USA

And everything went wrong

I never made it to the walk of fame

But still I’m going strong

Four lines that might as well be applied to Vox Von Braun. Any band coming from either United States or Great-Britain would have been hailed as the new saviours of indie rock music, the next big thing or the new Beatles, Rolling Stones or what ever sticks best on the cover of the NME. But the adventurous mix of shoegaze, garage-rock and great hooks has its roots in the higher parts of The Netherlands, Groningen.

Only half a week – during Eurosonic/Noorderslag – the town is the pounding heart of rock ‘n’ roll and pop-culture, but outside of this four days long “New Year’s meeting” of the music press, bookers and other important figures in The Business it is mostly a student city with an outstanding taste in music, a legendary concert hall and (in the same street) very sympathetic and specialised record-store. This all might be a perfect soil for an adventurous indie-rock band, but not the best fertiliser for eternal success and grand exposure.

Talking of exposure, that will be even less if you release your album just days before Christmas, again in Groningen. A big fat middle finger to the music industry or low self-esteem of a band that only believes to have created a record for friends and family. Whatever the case, good music has its manner of finding its way to the wanting and willing listener.

Attention that Rich And On Wheels certainly deserves. Not really sticking to one style, Vox Von Braun one moment sounds like The Butthole Surfers playing sixties bubblegum and the other switches to a mix of Pavement with Jesus And The Mary Chain trying to record a dirty as hell garage hard rock song. There is constant tongue-in-cheek feel to all the songs. Take the title song, a sixties sunshine beat pop tune with cynical lyrics on a gold-digger that sticks with her man because of his wallet

In Pitch Black one can almost see a bikers-pack driving of into the setting sun, supported by a heavy pounding stoner riff that burns tracks of rubber in your speakers. This while in a song like Jezebel Vox Von Braun just took a mix of drugs that sent Syd Barrett and Peter Green in to their mental crises. Audacious songs, but some how on the verge of sanity; Vox Von Braun at first seems to be a rather easy listen, but has a long line of sonic and productional surprises if one takes a more careful listen. Catchy with a hint of ludicrousness, Rich And On Wheels is an album that can appeal to a more mainstream audience as well as those looking for the dare-devils in pop music.

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Homemade Empire – Defenestration

Some small chords on a piano, a saw singing sadly; the first twenty-something seconds of Defenestration set the tone and atmosphere for the thirteen songs that follow. The debut of Homemade Empire on Subroutine Records is one of darkness, decay and sadness. Sad but not without a sense of hope, or as Bart De Kroon puts it himself on Hidden Knife I could have settled on heartaches and big mistakes/But instead I enjoyed the view.

Laid-back lofi folk songs that bring a comforting sadness. A comfort comparable to the warmth of autumn, to use a worn out comparison to describe music this time of the year. De Kroon keeps it small, even smaller than on the self-released A Brilliant Window Niche from 2010. This partly because Defenestration was mostly recorded live in one-takes with only one microphone, while the predecessor had several overdubs with Kroon playing all instruments himself. On this album De Kroon has surrounded himself with some friends, which also forces him in a more song-like atmosphere. The artist himself describes A Brilliant Window Niche as “a collection of sketches and experiments”, something which Defenestration clearly is not. Songs with a head and a tail, finished, on a record which has the same ambiance throughout all the songs.

What mostly defines the sound of Homemade Empire is the clear choice for analog recording. The warmth of the tape recordings, taking in the background noises while recording and leaving the mistakes in the mix. In word and music Defenestration seems to be far from the radical act of defenestration. There is no throwing people out of windows, no call nor cry for revolution in the tunes. Rather does Defenestration give a reassuring sound for the certain coming of decay and death. Great songs built up out of small gestures.

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Opgeslagen onder CD recensies, English, Nederland